Gerald Butler

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Possible Story Ideas for 'How to Train Your Dragon 3'

20th Century Fox Film via Everett Collection
Warning: This post contains spoilers for How to Train Your Dragon 2
Raking in a cool $50 million over the weekend, How to Train Your Dragon 2 proved to be huge success in a very crowded weekend of releases. But where does the franchise go from here? There's already a third film in the mix for the fantasy saga: How to Train Your Dragon 3 is set to release in 2016 with Dean Deblois returning to direct. Luckily, the second film of the series is littered with narrative threads that can be tugged at in the next chapter. Is there another five-year time jump in the cards? How will Hiccup handle being chief of Berk? Will Toothless ever find another Night Fury? We've decided to speculate on all the possible story lines that could surface in How to Train Your Dragon 3.
Toothless Finds Another Night FuryDuring the events of the second film, Hiccup and Toothless are dragged to a strangely constructed ice cave in the middle of the ocean by a mysterious dragon rider that is revealed to be Hiccup's mother, Valka. The cave is a sanctuary for dragons, and is home to thousands of dragons of all species, but even with the sheer number of creatures inhabiting the space, Valka tells Hiccup that she believes Toothless to be the last Night Fury in existence. The idea of Toothless being the last of his kind is brought up so frequently throughout How to Train Your Dragon 2, we figured a subplot featuring the lost species of dragon would materialize at some point during the film, but the credits rolled without a Night Fury in sight. We're guessing the filmmakers are saving the idea of another Night Fury for the third film.
Hiccup Struggles to Become a Good ChiefA major theme of How to Train Your Dragon 2 is the notion of responsibility, and Hiccup spends much of the movie dodging his responsibilities as heir to the throne of Berk. But after his father's untimely death (at the hands of Toothless, no less), the role of chief is thrust upon him and Hiccup has to step up and defend his people. Hiccup performs admirably in his battle against Bludvist and the alpha Dragon, but there's a lot more to being chief than just flying and fighting. There's so much responsibility involved with running and managing an entire village, and Hiccup definitely wouldn't have the time to leisurely fly around with Toothless. It would be cool to see the young leader struggle with his new duties as chief in a third film.
Too Many Dragons in BerkThe events of How to Train Your Dragon 2 introduces what looks to be thousands of extra dragons to Berk, a village where the inhabitants were already up to their eyeballs in the creatures. Is dragon overpopulation a thing? It would be interesting to see if the next film addresses the possibility that there might be too many dragons crawling around Berk for comfort. Maybe an expedition where Toothless finds a new home for all the extra dragons would be a cool little diversion for the sequel.
Toothless the Alpha DragonToothless bests Bludvist's alpha dragon and becomes the new alpha, but we're not sure what that means for Toothless and the other dragons in Berk. Does Toothless now have the ability to control the other dragons like the old alpha could? And could there be other contenders waiting in the wings to take the tittle away from our favorite dragon?
Hiccup's Relationship with His MotherDuring the film, Hiccup's mother Valka, thought to be long dead, is revealed to be alive and has spent the past 20 years rescuing and caring for lost Dragons. Once Valka is reunited with her family, she is prepared to go back to Berk, but she isn't keen on the idea right away. Valka has to be convinced to return to the village, thinking her place in the world is out on the skies, saving dragons. What if the next sequel deals with Valka wishing to return to her old life while Hiccup wants her to stay in Berk to support him as chief?
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20th Century Fox Film via Everett Collection
For a long time, it was understood that Pixar was supper and DreamWorks was dessert. Pixar was the filling meal: animation that required serious digestion, with its meaty emotional beats and deep characters giving their work a texture that other animated films didn't have. It wasn't all eye-popping visuals and pop culture references thrown at the screen, but stories crafted with care. DreamWorks, on the other hand, was the after dinner treat: sweet, fun, but nothing to really chew on. But with How to Train your Dragon, things changed for the company. After all the Shreks, Madagascars, and other films, suddenly DreamWorks was finally serving up lobster.
And boy was it good. The first Dragon was a revelation for the studio. The flying sequences made a serious case for that pesky 3D surcharge, but at the film’s beating heart was the tender relationship between a boy and his dragon, so resonant and fully realized. And now we have the sequel, living up to its predecessor almost entirely. For most of its running time, How to Train Your Dragon 2 is a delicacy. It's just the final bites that aren't so smooth.
It's been five long years since we last saw the cliffs of Berk, and things have changed for the better. humans and dragons are living in blissful cohabitation. Hiccup (Jay Baruchel) is 20 years old, sporting some young adult scruff of the chin. His father Stoic (Gerald Butler) is grooming his heir as a successor to the throne, but Hiccup would rather pass his time in the clouds with Toothless, discovering parts of his world that were inaccessible before humans partnered up with dragons. His travels brush him up against Drago Bloodsport (with a name like that, he may be the bad guy) played by Djimon Hounsou (okay, definitely the bad guy), a man who wishes to build a dragon army... not to mention a mysterious dragon rider whose identity has been spoiled by the film's trailers but won't be here.
20th Century Fox Film via Everett Collection
Berk and the surrounding domains of its pseudo-Nordic fantasy land are once again richly realized and provide a beautiful backdrop for the flying scenes, which are even more kinetic and grand than the original. The bond between Hiccup and Toothless is felt every second the duo zips through the air, giving the film's action scenes an extra oomph of feeling. Hiccup’s budding relationship with this his father, who struggles to understand his son's dalliances in the sky, gives the film an emotional pulp that hasn't been seen in any animated effort this year.
It's almost perfect, but the film just doesn’t earn that gold star in the end. So much of the power threaded through the film is cut short by its conclusion, proving that there's still blockbuster DNA wiggling around inside its cells: Hiccup’s personal story gets lost in the mix as the film is relegated to an explosive and cliche final act with more dragons than heart. It almost feels like the film is straining to be something better and more nuanced, but can't fight its own animated genetics. Nature wins over nurture.
It's a pity, but a small one. Despite its disappointing finale, How to Train Your Dragon 2 is so charming it's ultimately irresistible. The core relationships brim with poignancy, and it's a swashbuckling adventure through and through. It doesn't quite stick the landing, but the flight getting there is just so damned pretty.
4/5
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TriStar Pictures
Jon Snow might know nothing on Game of Thrones, but Kit Harington sure seems to know a lot about working out.
The actor that portrays Thrones' conflicted hero gets to shed the fur wraps that Snow regularly wears for the upcoming Pompeii. In the films trailers, Harington shows off a toned body that's somewhere between Russell Crowe in Gladiator and Gerald Butler in 300 ... and there's nothing wrong with that. Ygritte could sharpen her arrows on his rock-hard abs.
The movie about the ancient city that gets buried by the eruption of Mount Vesuvius stars Harington as a slave-turned-gladiator who's trying to rescue his one true love (Emily Browning) from the destruction… and the clutches of Kiefer Sutherland's treacherous Roman Senator.
Which is a long way of saying that there's going to be some kind of historical fiction going on while Harington races around and flexes his muscles… all in glorious 3D. We'll never look at Jon Snow the same again.
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20th Century Fox via Everett Collection
Celebrities are always treading a fine line between being overexposed and off the radar, with most of them rarely striking a balance. The box office can be fickle, and their public persona plays an equal if not major part in their likeability index. Could you imagine if Anne Hathaway played Katniss in the Hunger Games instead of Jennifer Lawrence? Something tells us falling down at the Oscars wouldn't be so endearing. That being said, here is a shortlist of actors and actresses who need to take a break in Cabo for a while, or recede from our eyeballs completely.
Katherine Heigl
Katherine Heigl is the equivalent of a framed stock photo insert. Blond hair and a bright smile groups her in as one of Hollywood's pretty people, but her acting and personality are instantly forgettable. Slap a bridesmaid dress or a gun holster to her, it's all the same. With a rock-solid reputation of being a pain in the ass, she's already been replaced in a number of film roles, but recently announced her triumphant return to television in an NBC pilot where she'll play a "maverick CIA officer." Just what we needed, another Covert Affairs.
Vin Diesel
How did Vin Diesel manage to stay famous, with "famous" being a relative term, you might ask? We need the living embodiment of Shrek to carry the Pitch Black franchise and continue to sell flashy sports cars in the seventh (7?!) edition of Fast and Annoyed. Teaming up with another actor who we'd like to ship back to Ireland (Gerald Butler), he's slated to star in the film adaptation of the hit action video game Kane &amp; Lynch. How many bald, raspy-voiced action stars do we need? Just keep letting Jason Statham do his thing; he works a suit better than most of them anyway.
Kristen Stewart
Acting is exhausting, or at least that's what Kristen Stewart's face seems to convey in every role she plays. While her pubescent angst worked in her favor for a while, it starts to wear thin after so many roles. You hear more about her tumultuous relationship with Twilight co-star Robert Pattinson than you do about her work, so maybe it's time to lay low girl. With plans to reunite with her Adventureland co-star Jesse Eisenberg and a sequel to Snow White and the Huntsman underway, Stewart has no plans of taking it easy.
Vince Vaughn
It's no wonder we bemoan the current state of romantic comedies with schlubby man-children as our leading men. As part of this particular subset, Vince Vaughn has graduated from slacker lead, to slacker lead with children. He's the Tom Hanks of subpar comedies, playing the same role ad nauseam without Spielberg and good material to back him up. Even Richard Ayoade couldn't save The Watch. We love Vaughn in an ensemble comedy like Anchorman or darkly sardonic in Wedding Crashers and Swingers, but what we can't take is more dead fish rom-coms, which Delivery Man is shaping up to be. It's time to follow in Matthew McConaughey's footsteps and pick offbeat roles or step aside for more interesting actors.
Other honorable mentions include: Seth Rogen, Jessica Alba, Shia LaBeouf and those Hemsworth brothers we can't tell apart.
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Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
3.5/5
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There is something particularly unnerving about demon possession. It's the idea of something you can't see or control creeping into your body and taking up residence eventually obliterating all you once were and turning you into nothing more than a sack of meat to be manipulated. Then there's also the shrouded ritual around exorcisms: the Latin chants the flesh-sizzling crucifixes and the burning Holy Water. As it turns out exorcism isn't just the domain of Catholics.
The myths and legends of the Jews aren't nearly as well known but their creepy dybbuk goes toe-to-toe with anything other world religions come up with. There are various interpretations of what a dybbuk is or where it comes from — is it a ghost a demon a soul of a sinner? — but in any case it's looking for a body to hang out in for a while. Especially according to the solemn Hasidic Jews in The Possession an innocent young person and even better a young girl.
The central idea in The Possession is that a fancy-looking wooden box bought at a garage sale was specifically created to house a dybbuk that was tormenting its previous owner. Unfortunately it caught the eye of young Emily (Natasha Calis) a sensitive artistic girl who persuades her freshly divorced dad Clyde (Jeffrey Dean Morgan of Watchmen and Grey's Anatomy) to buy it for her. Never mind the odd carvings on it — that would be Hebrew — or how it's created without seams so it would be difficult to open or why it's an object of fascination for a young girl; Clyde is trying really hard to please his disaffected daughters and do the typical freshly divorced parent dance of trying to please them no matter the cost.
Soon enough the creepy voices calling to Emily from the box convince her to open it up; inside are even creepier personal objects that are just harbingers of what's to come for her her older sister Hannah (Madison Davenport) her mom Stephanie (Kyra Sedgwick) and even Stephanie's annoying new boyfriend Brett (Grant Show). Clyde and Stephanie squabble over things like pizza for dinner and try to convince each other and themselves that Emily's increasingly odd behavior is that of a troubled adolescent. It's not of course and eventually Clyde enlists the help of the son of a Hasidic rabbi a young man named Tzadok played by the former Hasidic reggae musician Matisyahu to help them perform an exorcism on Emily.
The Possession is not going to join the ranks of The Exorcist in the horror pantheon but it does do a remarkable job of making its characters intelligent and even occasionally droll and it offers up plenty of chills despite a PG-13 rating. Perhaps it's because of that rating that The Possession is so effective; the filmmakers are forced to make the benign scary. Giant moths and flying Torahs take the place of little Reagan violently masturbating with a crucifix in The Exorcist. Gagging and binging on food is also an indicator of Emily's possession — an interesting twist given the anxieties of becoming a woman a girl Emily's age would face. There is something inside her controlling her and she knows it and she is fighting it. The most impressive part of Calis's performance is how she communicates Emily's torment with a few simple tears rolling down her face as the dybbuk's control grows. The camerawork adds to the anxiety; one particularly scary scene uses ordinary glass kitchenware to great effect.
The Possession is a short 92 minutes and it does dawdle in places. It seems as though some of the scenes were juggled around to make the PG-13 cut; the moth infestation scene would have made more sense later in the movie. Some of the problems are solved too quickly or simply and yet it also takes a while for Clyde's character to get with it. Stephanie is a fairly bland character; she makes jewelry and yells at Clyde for not being present in their marriage a lot and then there's a thing with a restraining order that's pretty silly. Emily is occasionally dressed up like your typical horror movie spooky girl with shadowed eyes an over-powdered face and dark clothes; it's much more disturbing when she just looks like an ordinary though ill young girl. The scenes in the heavily Hasidic neighborhood in Brooklyn look oddly fake and while it's hard to think of who else could have played Tzadok an observant Hasidic Jew who is also an outsider willing to take risks the others will not Matisyahu is not a very good actor. Still the filmmakers should be commended for authenticity insofar as Matisyahu has studied and lived as a Hasidic Jew.
It would be cool if Lionsgate and Ghost House Pictures were to release the R-rated version of the movie on DVD. What the filmmakers have done within the confines of a PG-13 rating is creepy enough to make me curious to see the more adult version. The Possession is no horror superstar and its name is all too forgettable in a summer full of long-gestating horror movies quickly pushed out the door. It's entertaining enough and could even find a broader audience on DVD. Jeffrey Dean Morgan can read the Old Testament to me any time.

The magical R-rating is both a gift and a curse to Adam Sandler's signature brand of lowbrow humor. In That's My Boy the comedian returns to the dim-witted roots that made him a star in early outings like Billy Madison and Happy Gilmore (complete with high-pitched mushmouth accent) but with a ramped up "ew" factor. Unrestrained Sandler piles on as many expletives and gross-out scenarios as a two-hour movie can hold — and it works out quite well. With costar Samberg nailing the disgusted straight man role Sandler's penchant for acting like a fool is enhanced by the sick stylings of director Sean Anders (Sex Drive) and only occasionally teetering into truly offensive territory. Laughs aren't guaranteed but the movie provokes (which is a big step up from Jack and Jill).
Back in the '80s Donny had a secret relationship with his teacher Ms. McGarricle that resulted in a son Han Solo (he's a middle schooler what do you expect?). The torrid affair put McGarricle in jail Donny into celebrity tabloid spotlight and Han Solo in the hands of a tween father. Thirty years later everyone's screwed up: Donny (Adam Sandler) is a drunk on the brink of jail time for tax evasion McGarricle's still in jail and Han Solo (Andy Samberg) now "Todd " is a successful number-cruncher with severe social issues. On the weekend of Todd's wedding Donny reenters his life hoping to bring revive their relationship and reunite him with his mother — that is on camera so Donny can make $50 000 from a gossip TV show and stay out of the slammer. Posing as Todd's long-lost best friend Donny stirs up trouble becoming buddies with Todd's friends and family and acting like a imbecile.
The wedding setup is overdone but always prime for comedy: plenty for a numbskull to screw up logical progression (there's a wedding at the end!) and a bachelor party scene to squeeze in the most disgusting bits and have them make sense. That's My Boy makes the most of its conventions — including what we all know and expect from a Sandler comedy — by continually one-upping itself. After a night of heavy drinking at the local strip club/omelette bar that results in do-it-yourself ear piercing and robbing a convenience store with Vanilla Ice Todd returns home to expel the night's worth of drinking all over his fiancee's wedding dress. Then he makes love to the dress. Then his fiancee (Leighton Meester) wakes up to find the dress. Then it goes even further than one would care to imagine. Grossed out yet? Amazingly lower-than-low brow material is handled with clever timing and great delivery. It's just that the foundation is bodily fluids.
That's My Boy falters when it throws in gags that serve zero purpose to the story. Strange racist humor a mentally retarded bar patron played by Nick Swardson (a Sandler mainstay) random allusions to Todd Bridges' drug habits — barrel-scraping one-offs that have nothing to do with the movie. At two hours the movie needs slimming and the fat is apparent. Thankfully the main ensemble goes to great lengths to make the hard R comedy click with Sandler and Samberg playing well off each other (although Samberg doesn't have the making of a leading man after this movie) and SNL alums like Will Forte Rachel Dratch and Ana Gasteyer driving by to bring the funny. Even Vanilla Ice's extended cameo fits the anything-goes tone playing a version of himself that befriended Donny in his celebrity days. Now he works at an ice skating rink.
After a few lame ducks That's My Boy is a return to form for Sandler. It wavers in quality but it has energy and color. A cash-in this is not and for any Sandler fan with a stomach for hardcore bathroom humor it's a must-see.
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Could it be that after all this time of searching Jennifer Aniston has finally found a love that will stick? For years America has waited with baited breath for Jennifer to find a man to fill that void that Brad Pitt left behind. Men have come and gone and then come back again, but will Justin Theroux be the one to cancel out all that unlucky love karma?
Aniston has already started calling Theroux her boyfriend - something she hasn't done since her on-again, off-again relationship with John Mayer. Theroux has been seen in such movies as Zoolander and will be in the upcoming movie with Aniston, Wanderlust, and considering Aniston has been known to fall for several of her co-stars (including Gerald Butler from Bounty Hunter and Jason Bateman from The Switch), this romance seems all the more plausible.
It's great that the beautiful actress finally seems to be getting her love life back on track, but one could point out that they may be moving too fast even in the celebrity world. An insider announced "He's living at her place in L.A.!" This is a huge step for a couple that just went public with their relationship earlier this month. Let's also not forget that it hasn't been that long since Theroux's split with his 14 year love interest with costume designer, Heidi Bivens. The couple lived together for 6 years and she only moved out last weekend. Is Theroux experiencing empty nest syndrome or is Aniston really the one for him? Only time will tell...
Source: Us

Filmmakers have their own styles. You know that Brad Pitt etching Nazi symbols in foreheads came specifically from the mind of Quentin Tarantino. You know Robert De Niro talking to himself in the mirror came from Martin Scorsese. And you know that Gerald Butler screaming, "SPARTA!" came from Zack Snyder.
But what is it about these moments that make them so memorable? So exciting? So awesome? In Snyder's case, it's by making everything totally badass. On Friday, his latest flick Sucker Punch hits theaters, a film that will undoubtedly rely heavily on its visual effects to showcase itself. Expect a fast, in-your-face blend of fighting, sexing and exploding -- but don't take us lightly. A Zack Snyder film is something you need to prepare for, so to prevent your senses from overloading, here's a checklist of what to expect from Snyder and all his films.
1. Use Slow Motion. Lots of Slow Motion
What is it about slo-mo that is, and always will be, so fucking cool? There are numerous ways to use it for emotional effectiveness. It can be funny, serious, dramatic, sad, happy, aggressive, or pretty much any other emotion out there. It all depends on context. In Snyder's case, he's a man who's willing to slo-mo at any moment. Some look at this as a cop-out, or a way to "trick" the audience into feeling a certain way, but if used in the right context, it can certainly help a film achieve what it wants to.
300 - Slomo Fight Sequence - For more funny movies, click here
2. Give It That "What We Really Want The World To Look Like" Look By De-Saturating All The Color
I won't lie. There are many times where I find myself walking down the street thinking to myself, "Hey, this would be a pretty cool movie scene if the colors were different and a song played in the background." And I'm pretty sure I'm not the only one who does this. The joy of film is that we get to tell stories and escape from our real lives, so while we escape, why not dramatize it in a really stunning way?
300 - Then We Will Fight In The Shade Tags: 300 - Then We Will Fight In The Shade
3. Use Guns and Swords and Other Violent Shit, But With A Surprising Lack of Blood
Zack Snyder likes violence. After all, he is the dude who made 300 (you know, that one movie about the 300 Spartans who murder EVERYONE). But weirdly enough, his films aren't that gross. There's blood, but not it's rarely "believable" blood. In 300, people die, but their deaths look so comic book-like that it's hard to get grossed out. Certainly someone with a very queasy stomach should think twice about watching his films, but he's not out to illustrate realistic murders like, say, Martin Scorsese. Instead, he takes death as just another opportunity to display his art.
300 Battle Scene by ihuman
4. Make Awesome Songs We Already Like Even More Awesome
Snyder isn't afraid to make some interesting choices when it comes to music in his films. Heavy metal? Sure! Classical violins? Why not! Or -- in the case below -- "Unforgettable?" Definitely! I realize that most of Watchmen's music came from the graphic novel, but at the same time, Snyder makes brave decisions with the soundtrack. He doesn't care if he's depicting ancient Greece. If heavy metal fits the situation, then heavy metal is what you're going to get. And typically, despite his odd approach, he tends to work.
Watchmen - The Comedian's Death by dark_yggdrasil
5. Add Lots and Lots of Babes (Or Dudes, I guess, If It's 300)
Let's be honest here. Beautiful people are beautiful, and who doesn't like to look at beautiful people? To make his scenes flashy, Snyder not only utilizes editing tricks through CGI and music, but he also isn't afraid to just rely on a good ol' fashioned hottie. Because, obviously, most of us are not that beautiful and as stated earlier, we go to the movies to escape our lame lives. Personally, I don't want to escape my ugly-person-filled reality to see more ugly people. No. I want to see beautiful people.
Watchmen - Silk Spectre II by Watchmen-Profiles

Uma Thurman and Jessica Biel have signed on to join Gerald Butler in Playing the Field, the new film from director Gabriele Muccino. The news follows yesterday's announcement that Muccino will direct Adaline, another drama more in line with his previous hits The Pursuit of Happyness and Seven Pounds.
Playing the Field, penned by Robbie Fox, tells a story revolving around a former pro-soccer star (Butler) who, in an attempt to bond with his son, agrees to coach his soccer team. And because Gerald Butler is the hunk of a man that Gerald Butler is, his character is forced to fight off romantic advances from hordes of soccer moms (and let's be honest, we're hoping that he does this in the most extravagant way by -- just go with us here -- channeling his inner Leonidas, grabbing a sword and proceeding to chop off their heads, holding them in the air, screaming, "I AM KING OF SOCCER MOMS!")
Anyway, that probably won't happen, but audiences should be careful with this film regardless. By billing itself as a "soccer comedy," the Nu Image/Millennium Films picture may just be trying to trick everyone into thinking it's not a "romantic comedy." So, whatever. Movie studios, listen up: all you need to change a film's genre is a minivan.
Source: Variety